Wednesday, February 17, 2010

We have recently received and read the screenplay that has been passed around the last while and it has been summed up in the most in depth and spoiler filled review to date. Read/Highlight ahead at your own discretion:

A script purporting to be Paul Thomas Anderson's untitled new drama, which centers around religion — affectionately being dubbed "The Master" by many — has been making the rounds.

Let us reassure you. It's very real.

However, due to one relatively incoherent review on the The Cinematic Experience of Forizzer (that's since been cleaned up, but still wantonly rambles), and then the subsequent leaker (Forizzer), desperately trying to prove its authenticity on various message boards by posting pages from the script, it's legitimacy has been called into question (the whole doth protest too much catch 22). Other skeptics taking a too-literal look at the initial trade reports, are also calling his review apocryphal because the script in question was dubbed the "Untitled Scientology Project" and the trades explicitly stated in the announcement that the film wasn't about Scientology.

But let's assure you, that's a red herring. While "The Master" (as we'll call it here for the purposes of this review) is perhaps not a out-and-out screed or attack on Scientology, not recognizing the strong, strong ties, allusions and specific references to that cult religion is itself, is either blindness or ignorance (though to be fair, PTA zealots have nitpicked the hell out of Forrizer's message board defense posts — though again a doth-protest-too-much defense will backfire).

We would be worried about spoilers and revealing too much if it weren't for the fact that this version of "The Master" is a very, very early draft — there's a litany of spelling errors and abbreviated scenes with "tbd" or "etc." written in as placeholder for where more context and description will soon come.

However, so much is laid down, so much fleshed out, and all with that hurried pace that can be so compelling about Paul Thomas Anderson films. It careens a little in the beginning, wanting to establish a lot in a short amount of time (i.e. the opening of "Magnolia," though not quite as lightning fast), but it's clearly his voice and work. No other yokel out there can write a fake 124-page screenplay and be this precise or good.

As for the Scientology ties, they've been evidently brewing for quite some time now. You'll remember in August 2008, PTA put on a top secret play at Largo that starred his wife, Maya Rudolph and her SNL c0-star Fred Armisen. The play centered on a series of vignettes and one in particular focused on a couple, "getting to know each other over a complicated personality test." What many people didn't realize at the time is that personality test questions were taken from what is known as the Oxford Capacity Analysis, a free personality test that is given by the Church of Scientology (and that's been confirmed in the comments section here by someone actually in attendance at the Largo show).

While people have been ravenous for details and what the picture was exactly about, Variety spelled out the picture quite well when they first reported the story and said it, "explores the need to believe in a higher power, the choice of which to embrace, and the point at which a belief system graduates into a religion." And that's on the money with themes of sublimation of self, lack of identity and perverted ideas of solipsism.

Using their initial description, we'll give you a modified synopsis:

“The Master” is the story of a charismatic intellectual (Philip Seymour Hoffman) who hatches a faith-based organization that begins to catch on in America in 1952 called The Cause. The core dynamic centers on the relationship between The Master and Freddie Sutton, (Paul Dano) an aimless twenty-something drifter and alcoholic who eventually becomes the leader’s loyal lieutenant. As the faith begins to gain a fervent following, Freddie finds himself questioning the belief system he has embraced, and his mentor.

Here's your first clue. Scientology was founded in 1954. A significant chunk of the screenplay takes place on a boat so "The Master" is free to write his next cult tome (Book II, "The Dual Saber") and not be distracted by the outside world and the criticisms that are constantly dogging The Cause. And similarly in in the late '60s, L. Ron Hubbard also lived on a Panamanian ship for quite some time and allegedly up to four years. The references are myriad.

So "The Master" essentially starts when an aimless Freddie — an amateur moonshine alchemist who is on his way to drinking himself to an early death if he continues this way— stows away on a ship after a toxic mix of his brew accidentally blinds a Filipino migrant worker he is toiling away with on a farm. Fearing he has potentially killed the man, Freddie's instincts are nothing but basic survival (another recurring theme in the screenplay) and aggressively drunk himself, he reaches for the first form of escape.

The ship however is the aforementioned vessel of the Master and the followers of The Cause including his children Mary-Sue (the name of of one of L. Ron Hubbard's wives), Norman Conrad, Elizabeth and the faith-wavering son Val (to further the connections, L. Ron Hubbard Jr. also condemned his father and the church in a 1983 Penthouse interview, though Val is nowhere near as traitorous).

Instantly discovered on the ship by the close-knit cult, Freddie's drink is drugged and then he's interrogated by the highly paranoid Master who wants to know who sent him to spy on their community: The AMA? The APA? The CIA? (This paranoia would not be unfounded by L. Ron Hubbard, in 1977, Scientology offices on both coasts were raided by the agency). This tête-à-tête is one of many excellent back-and-fourths scenes between Master and Freddie. Run how we imagine a Scientology "audit" session is run — a sort of quasi psychotherapy stress test cum interrogation/ authoritative hypnosis via repetition session — the scene is a series of rapid-fire, bare bones question and answers.

Freddie, the skeptic, answers truthfully and reveals much in near grunts. The Master, establishes his dominance and genius and wields a bumbling, word-heavy, lyrical style of speaking. Anderson is so talented in building his characters through dialogue, giving them quirks of speech, misspelling words to emphasize accent. Here, Anderson, barely, if at all, writes action lines. It's all dialogue and nothing else for a few pages (this may also be because of how early a draft this is).

Freddie reveals some personal darkness from his past and the Master — perhaps sensing guinea pig possibilities — gets hooked. After making sure as best he can that the young stow-way isn't some spy or a thief after the renaissance man's secret manuscripts (he calls himself a doctor, a writer, a philosopher, apoet, etc.), he welcomes Freddie into the fold, impressed by his blunt instinct, and talents for making tasty homemade liquor. And the Master — believing they had met in a previous life — takes a shine to his "scoundrel" ways. Cynical, bemused and completely weirded-out, Freddie is introduced to the ways of the cause, the concepts of "time-holes," the interrogation-like psychotherapy sessions and regression work that's supposed to transport us back into our earliest memories of suffering in order to banish and own them (a very basic tenet of Scientology). "Shall a man be his master of his memories? Or shall his memories be the master?" Seymour Hoffman's character posits at one point.

For those that worry about spoilers that leads us up to about the end of the first act and many of these details would be in one of those detailed Apple trailer synopsis that are about three paragraphs deep.

Suffice to say, in what seems like a story that spans over a decade — though it's tough to say exactly how long — Freddie graduates from a naive dilettante to a trusted right hand man who does the Master's bidding and often uses intimidation tactics. The story, in a way, is the battle for Freddie's soul which has been seduced by the dark charms of the master, but even that is far too simple a description to this layered, mysterious and at times very ambiguous tale.

The key to "The Master," and what might make it a difficult sell, is not its story — in many ways like "There Will Be Blood" not a lot happens plot-wise, there are few "big" scenes — but its odd enigmatic tenor which are not unlike those moments in "There Will Be Blood" where mystery and purposeful uncertainty rule (think the sequences where we're unsure whether Dano has a twin or not, or whether the man claiming he is Plainview's brother is actually who he says he is). And again, like 'Blood' which used Upton Sinclair's "Oil!" as a starting off point,' "The Master' screenplay seems to use Scientology in the same manner to examine and explore cults and megalomania.

The tenebrous enigmatic story does have strange, noteworthy and twisted scenes of sex, incest, polygamy, adultery and wild flashes of rancor from the Master that Daniel Plainview himself would be proud of. PTA seems to have seized upon dark, spiritual forces at work in recent years and Messianic figures. From the plague of frogs in "Magnolia," to the raging hubris of Daniel Plainview and The Master, he is clearing exploring spiritual themes and men with a God complex. One hypnosis-like scene where a woman regresses to a pre-natal time when she is back in the womb and remembers her father having sex with her mother is particularly creepy and striking.

Universal apparently won't greenlight this approximately $35-million-dollar budgeted project until they read the script and you can see why. In many ways, it's a film with a more twisted mien than "Doubt," but just as low-ley and with small stakes. Then again 'Blood' had a similar vibe on the page, but boiled over into something much more operatic thanks to the eerie score and the volatile electricity of Daniel Day Lewis.

Still, Universal won't be greenlighting this version, but it's probable that no on was meant to see this draft yet. If intelligent dramas are being threatened with extinction of late (or at least at a certain budget), surely this could become a problem for PTA eventually. But more than just a chamber drama, the shadowy and cryptic elements of this story could be pushed in the marketing — sort of like 'TWWB' to suggest something otherworldly and not just a period piece about religion set in the '50s.

What one comes away with during "The Master" is that PTA's a damn confident writer. He has a great deal of faith in his audience to either get-it or at least hang on for a deeper-than-usual ride the gets stranger and odder as the film comes to its conclusion. There's eloquence in the loopy metaphors of the master's monologues. It's like his determination to tell the story becomes part of the momentum or heartbeat of his films.

"You write who you are and what you know," PTA told Moviemaker magazine in 2000. "But you also cheat and you write what you want to be. It’s a little embarrassing, sometimes, to be the guy that made the movie, knowing that I’m not exactly what I want to be."

Need a little emotional and spiritual guidance in your life? "The Master" suggests that The Cause can help you help yourself. — [with additional script notes by Andrew Hart and graphics courtesy of M. Morrison]

Tuesday, February 09, 2010

Hollywood Elsewhere has also gotten a copy of this pdf file making its way around the internet and had this to say about the amount they had read of the script so far:

On 12.2.09 Cinematical's Monika Bartyzel, following-up on a Variety announcement, reported that Paul Thomas Anderson and Philip Seymour Hoffman would be teaming up for a new flick "about a man who creates his own religion." The feature would cost in the vicinity of $35 million with Hoffman playing "the Master," an L. Ron Hubbardish figure "who starts a faith-based organization in the 1950s. He teams up with a twentysomething drifter named Freddie who becomes his lieutenant until the kid finds himself questioning the faith he's gotten himself involved in."

In its announcement story, Variety wrote that "the drama does not so much scrutinize self-started churches like Scientology or the Mormons, as much as it explores the need to believe in a higher power, the choice of which one to embrace and the point at which a belief system graduates into a religion."

That's a smokescreen statement. I was sent a copy of PTA's untitled script yesterday and while I haven't read all of it, it sure reads like a Scientology critique to me. I'm particularly thinking of a line near the end in which Hoffman's "Master" presents a contact that he wants Freddie to sign that stipulates he "will serve the Cause above all other laws and regulations in this or any other neighboring galaxy for three billion years." That sounds kinda Hubbardy...no?

Their website has additional screen captures of the script which can be seen here.

Wednesday, February 03, 2010

Rapidly making himself a target, the blogger who posted his thoughts and review yesterday on The Master has attempted to prove himself by posting three screen captures of the screenplay's pages to the Xixax message boards. We have them here, here and here. If you don't wish to see plot details, do not click them.

Tuesday, February 02, 2010

The following review for a screenplay called "Untitled PT Anderson Scientology" was posted by someone's blog titled "The Cinematic Experience Of Forizzer" and made aware to the world via The Playlist.

The following will most certainly contain specifics. If you do not wish to have the film spoiled for you in anyway, please do not highlight the text pasted below:

Heyo, I’m back. Computer is fixed and I’ve quite a few things to review (The Last Station and some classics I caught over the past week+). I’ve also gotten into the habit of reading scripts and fortunately for me, I have connections and was able to read the Untitled Scientology script by Paul Thomas Anderson. One of the few in the world, I believe, so I’m quite content with myself.

PLOT SYNOPSIS: Freddie, a young man in his mid-20s, has his appendix burst. Not very much a man too concerned for family, he found his calling in the Navy. With a burst appendix, he can no longer handle the rigorous tasks the Navy calls upon their men. Isolated and looking for his calling, Freddie becomes an alcoholic at the snap of finger; so much so that he brews his own ale — an ale so strong that, when in southern US, a poor immigrant worker drinks ‘an unbalanced quantity’, goes into convulsions and is assumed to have died while Freddie scampers away from the site.

Afraid of being caught, Freddie hops aboard the first vessel he spots. Half drunk out of his mind, half worried for his life and half looking for work, this type of calculation indicates the mess that is Freddie. Aboard the ship, a man that goes by Master (the role Philip Seymour Hoffman is set to portray) begins to guide Freddie. He asks him odd questions and tries to rid the young man of his dependencies. Master is an allegorical L. Ron Hubbard, for the curious.

Master has a family — a wife and four children (three daughters, one about to get married, and a son) — and a group of followers that adhere to everything he says. He’s also skeptical of strangers, which allows for quite a frantic… but usually composed character. It will be vastly interesting to see what Philip Seymour Hoffman does with the role — it’s his most varied and unique to date.

OVERALL IMPRESSION: The script was mashed together rather haphazardly. There’s plentiful segments that say “Insert Dialogue at a Later Date” or varients of that. The composition of it all is rather amateur as well. If one were to pick this script up, they’d assume this person had no script writing program or spell check (there are a fair share of spelling errors).

The story itself is very peculiar. There’s sexual perversion in parts, extreme moments of eccentricity from Master, lots of interesting theories about life and the purpose of it, and even some humor slighting Scientology. If one expects this story to completely laugh at Scientology, think again. It’s more demonstrative of loneliness and why someone would find solace in the least likely of religions as opposed to a flagrant foul against the belief. It’s partially jumbled in what it means to preach, script-wise, but I believe that this will all find further clarity with a the script revisions that follows and the inevitable direction of the feature.

For the lead role of Freddie, I imagined a Paul Dano type. Perhaps a little bit bulkier as one would imagine a slightly bloated gut to accompany alcoholism and a burst appendix. Someone mostly scrawny and who can play off drunkenness well will do favorably in this part. Hoffman as Master is a wicked choice — expect a second Oscar win for what he puts himself through. The rest of the cast is rather plain… it’s like a The Last King of Scotland in that sense: two major characters and everyone else just, well, there.

It reads at 124 pages. If you go the traditional minute per page, you get just over two hours. Of course, I think that’s too simply a strategy, so I go by what I feel it is. The first 10-15 pages are heavily descriptive, so I imagined them slightly longer. I figure this will be about 135 minutes long without credits. So perhaps 140 minutes overall.

FINAL WORD: Poorly written, but excellently constructed, Untitled Scientology is one of the better scripts I’ve ever read (not too big a feat, but…). In addition, it has an ending that will keep you thinking — I know it has for me, and I read it two days ago. So I suppose I’ll toss this script an 8/10. PTA’s assembling of it all might raise it to a 9 when all is said and done. Yeah, it’s good. And no, you may not have the script.